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Please note: the following list is subject to change and may not be comprehensive. Please check the online course listing for the full roster along with information on class days/times and room numbers. The course location is at UHD Main Campus and instructional method is in person unless otherwise noted.
MW 8:30 - 9:45 a.m. (CRN: 11554)
MW 10:00 - 11:15 a.m. (CRN: 11556)
This class will explore the theories and practice of writing and designing effective technical and business communications/reports in today’s world. Consequently, we will explore the processes for managing information, conducting and reporting research, and situating oneself in professional contexts. The class will not only challenge students to read texts, but also will help students interrogate the main rhetorical demands and the writing/design choices concerning such texts. By the end of the semester, I will have guided you to:
Mike Markel. Technical Communication. 9th ed. Bedford. ISBN: 13: 978-0-312-69216-2.
TR 7:00 – 8:15 a.m.
In this class, students will learn about the business and technical report writing genre. Students will examine how business writing is different than creative and journalistic writing. We will explore how to analyze and write for various business audiences, document editing and organization techniques, and the importance of accuracy. This class is designed to simulate the professional working environment as much as possible.
The main assignments are:
Mike Markel. Technical Communication. 9th ed. Bedford. ISBN: 13: 978-0-312-69216-2.
J. T. Owen
MW 5:30 - 6:45 p.m., rm. S-822 (CRN 11562)
MW 8:30 - 9:45 p.m., rm. A-715 (CRN 11663)
Prerequisite: Three hours of English literature.
Catalogue Description: Study and practice of formal and informal presentation of technical information, with emphasis on report writing.
English 3302 is a composition study that emphasizes typical business written communication. Ethics, audience, purpose, organization, and context will be emphasized in all assignments. The primary document, the feasibility study, is the result of intensive library research.
Wayne Schmadeka, Ph.D.
T 1:00 - 2:15 p.m. (Hybrid - at UHD Northwest) (CRN: 11534)
T 2:30 - 3:45 p.m., rm A-717 (Hybrid - Downtown Campus) (CRN: 11535)
Three credit hours of English literature.
Students will study and practice writing the types of documents frequently used in the workplace, including cover letters and resumes, a proposal, a progress report, procedures, and a recommendation report.
Major assignments include writing:
Recent examples of reports include:
Anderson, Miller-Cochran, Rodrigo, Ogle, and Stokes. Business and Technical Report Writing. Mason, Ohio: Cengage Learning, 2009. ISBN-10:1111632944 (same book as ISBN-13: 9781111632946).
Note: The textbook is currently available through the UHD bookstores at the Downtown and Northwest campuses, but is not yet it available online from the publisher.
Dr. Adam Ellwanger
MW 7:00 - 8:15 p.m.
English 3305 is both a study of the form of the essay and a workshop in which you will refine your skills as an essayist. Although the bulk of your work in the course will be writing, we will also do intensive reading and re-reading of a few key essays that address topics that are relevant to the essays you will compose in the course. Most of our readings will discuss the broad topic of education in some way or another.
TR 8:30 - 9:45 a.m.
Shakespeare’s comedies are for the most part a feast of laughter and good feeling that will keep us “bonny and blithe,” but while we will lose no opportunity to enjoy their charm, we will also observe the imaginative fertility of Shakespeare in creating for each play differences in tone, thematic emphasis, structure, and characterization. Students will read initially The Second Shepherd’s Play to catch the still strong influence of the native medieval influences in the Early Modern period, and will become familiar with several theories of Shakespearean comedy that capture Shakespeare’s openness to nearly every contemporary critical methodology. Students will write one short analysis and a research paper, and they will take eight short quizzes, a midterm, and a final.
The five plays to be studied are A Midsummer Night’s Dream, The Merchant of Venice, As You Like It, Twelfth Night, and Measure for Measure—all to be found in the course textbook, The Norton Shakespeare: The Comedies, ed. Stephen Greenblatt et al. (ISBN 0-393-97670).
Marcelle P. Hill, JD
TR 7:00 - 8:15 p.m.
“A study of the principles of analytical writing, with special emphasis on strategies of legal persuasion and the techniques and appropriate style of legal writing. Students will learn to brief (summarize) published cases as well as to write legal memoranda” (UHD Catalog). Note: Many students find this course challenging. You will need to read carefully, analyze effectively, and write well to succeed. Prerequisite: 3 hours of literature.
Garret D. Johnson
MW 2:30 - 3:45 p.m.
In this course, students will explore various techniques of creative writing in three primary genres: fiction, poetry, and creative nonfiction. Each student will have the chance to work in each of these genres but will also have ample opportunity to choose among them for various assignments. We will read and discuss examples drawn from both anthologized works in our textbooks and recent publications in journals and magazines such as Ploughshares, Gulf Coast, The Sun, and The New Yorker. Later in the semester, we will also discuss the oft-daunting world of publication as well as other nuts-and-bolts aspects of the writer’s life.
We will meet twice a week (MW), and on one of these days classes will consist of lectures on various techniques of the craft, combined with class discussion on readings related to those techniques and writing exercises done either in class or before class. The other half of our classes will be devoted mainly to discussing your and your classmates’ creative works, in which you have sought to apply the techniques learned in your own original way. These workshops will give students a chance to experiment with various forms and hear how a generous and safe audience responds to and understands their work. The feedback will be invaluable to students challenging themselves to grow as writers, as well as to those participating in the discussion.
The primary aim of this course is to let you to try your hand at various modes of creative writing, given prompts and guidance as well as freedom to explore the craft in whatever way comes naturally to you, and to immerse you in the exhilarating process of seeing how narrative, image, and the rhythms of verse (among many other things) echo the world in which we find ourselves and allow us to explore its meaning and our relation to it. It’s also just a lot of fun. Who doesn’t like making up stories?
TR 5:30 - 6:45 p.m.
English 3309 is intended to distinguish literary and imaginary writing from the ordinary, non-creative writing. We will devote each session to topics related to the craft of poetry, fiction, and creative non-fiction. We will examine and analyze the best examples of the genres. There will be in-class writing exercises and occasional sharing of students’ journals. In the second part of the semester we will have workshops in which students will share their own creative work. They will receive feedback from their professor and the classmates for a creative revision. Prerequisite: 3 hours of literature.
TR 11:30 a.m. - 12:45 p.m.
We will be reading memoirs, essays, and exchanges dealing with the following questions:
Some of the texts:
Service-Learning Opportunity: Students will participate in public symposia, discussions, and film screenings as part of the course.
Dr. Sucheta Choudhuri
MW 8:30 - 9:45 a.m.
Salman Rushdie says of fiction, “The elevation of the quest for the Grail over the Grail itself, the acceptance that all that is solid has melted into air, that reality and morality are not givens but imperfect human constructs, is the point from which fiction begins.” Rushdie’s claim highlights the productive uncertainty that triggers the artistic process of writing fiction. In this course, we will examine the origin, development and aspects of this artistic process. This course is an introduction to the elements of fiction through the study of the short story. Along with a brief historical overview of the short story from the 19th century to the present, students will learn to analyze critically the formal aspects of the short story: plot, character, setting, point of view, style, theme, etc. Coursework will also involve the use of a range of theoretical approaches to the interpretation of the short story. Students will become familiar with a variety of genres of stories from different geographical locations. Readings will include stories by Charlotte Perkins Gilman, James Joyce, Katherine Mansfield, Margaret Atwood, Alice Munro, Nadine Gordimer, Jhumpa Lahiri, Salman Rushdie, Gabriel Garcia Marquez, and Junot Diaz.
Coursework includes an explication essay, a critical analysis essay, a midterm examination, reading journals and a final research project.
Text: The Story and Its Writer: An Introduction to Short Fiction. 8th edition. Ed. Ann Charters.
Michael Dressman, Professor of English
Studies in Fiction is a requirement for students majoring in English at UHD, but it is also a course taken by students in other degree programs, as well as students minoring in English.
The University catalog describes ENG 3312 as “a study of short stories and/or novels,” with “consideration of the historical development of fiction as a genre and detailed analysis of the elements of fiction.” The Department of English has established outcomes for this that course include your achieving an understanding of the basic elements of fiction and your demonstrating that understanding in writing.
This course will focus on the works of six authors whose works will be approached in this order, which is essentially historical order:
Delivery System and Requirements
As an online course, this class will be coming to you via Blackboard Vista, using several of its features. However, you will spend much of your time in this course reading, thinking about, and writing about selected works of prose fiction. I will provide you with background material for your readings, as well as instruction to assist you in understanding and analyzing the various texts.
There will be 6 major response exercises (one per author) that will require answers written in essay or short-answer form, and there will be two paper assignments in which you will demonstrate your ability to analyze examples of prose fiction, using primary texts and secondary critical or historical material. In addition, there will be a number of shorter exercises, including a short essay early in the course and almost weekly discussions with fellow students that will call on you to make brief but coherent comments on the readings. All assignments are to be submitted through the Blackboard Vista web site for the course.
Dr. Karina Stokes
T 1:00 - 2:15 p.m., rm. S-1099, and Thursdays online
This course will provide a lively and interactive way to achieve two main goals:
This class will help students understand the meanings behind the words in office talk, in interpersonal communication, and in the television, radio, and print messages that are important for being well-informed citizens and consumers. This class will help students write cogent answers to essay questions on tests as well as persuasive professional communication on the job.
Assignments will include: group discussions and presentations, a few short essays, and one major writing assignment designed to guide students, in a step-by step fashion, through the process of learning how to analyze situations, develop ideas, find supporting evidence for ideas, and express thoughts clearly. Upon completion of this course, students will be better listeners, more critical thinkers, and more effective communicators.
This course is a learning opportunity for anyone who wants to think and analyze more clearly and communicate more persuasively and effectively.
Major Assignments may include:
3 or 4 position essays (4 to 8 pages) – adopt a position or point of view about the topic of your group presentation and give good reasons why your point of view is right. Step-by-step directions on how to write an effective position essay will be provided as part of the course.
1 inquiry paper (6 to 15 pages) – formulate a clear question about some aspect of rhetoric (e.g., rhetoric used in advertising, political rhetoric, office rhetoric, persuasive interpersonal communication, etc.) and find evidence to answer your research question. Possible topics include:
Step-by-step directions on how to choose and develop an effective question and how to find and present clear written evidence to answer the question will be provided as part of the course.
In this course, students will learn how to analyze and present various forms of medical material to various audiences located in different workplace, cultural, and linguistic settings. Through research projects and analysis of (professional) medical texts, students will learn how to write and design clear, ethical, and scientifically publishable medical essays and articles. Topics will include, among others, word choice, style, ethics, formatting and citation, and intercultural medical writing. By the end of this class, students will be able to:
Mark C. Stuart, ed. The Complete Guide to Medical Writing. 1st ed. London: Pharmaceutical Press, 2007. ISBN: 978-0-85369-667-4.
Wayne Schmadeka, Ph.D.
Thur. 5:30 - 6:45 p.m., rm. N-637 (CRN: 11532)
Three credit hours of English literature
This course involves the application of general rhetorical principles and current theory in document design to the development of procedures manuals and other documentation.
Students will learn to evaluate and prepare documents that guide people in using products and tools, carrying out procedures, making organizational decisions, establishing and maintaining order in organizations, and taking other necessary action.
TR 11:30 a.m. - 12:45 p.m., rm. S-822
This is the course you need to acquire the foundational skills for writing any kind of story for any form of media. We will begin with reviewing the basics of clear writing, and then introduce media style and the media writing environment. We apply our skills first to newswriting, the basis for all writing applications, then introduce the major applications: newspapers, magazines, the Web, and public relations. Students will have the opportunity to use story-writing exercises to develop skills in each type of writing, while also learning what the public function of the media is in a democratic society (“The 4th Estate”). Finally, legal and ethical issues involved in media writing will be addressed to emphasize the responsibility media writers have to their readers, to the community, and to the wider society. Class activity consists of discussion of news values and how to decide relative importance for newslede writing, and regular writing assignments in the various media, with opportunities to revise and edit. Textbook is Stovall, Writing for the Mass Media, 7th edition.
TR 1 - 2:15 p.m.
In this course, we will study aesthetic form and content in selected variations of creative nonfiction, such as personal essay, memoir, and literary journalism, with some consideration of the genre as it evolves through history and across cultures. Creative nonfiction as a genre opens exciting possibilities for the adaptation of techniques in both fiction and poetry to pursue and present ideas delivered through the power of a sophisticated personal voice. This course will introduce multiple approaches to creative nonfiction from different eras, with an emphasis on adapting techniques for the creation of your own original pieces—a major writing component of the course. Texts and authors under consideration: Phillip Lopate (his groundbreaking anthology, The Personal Essay); memoirs by Denton Welch, Nathalie Sarraute, June Jordan, Tobias Wolff and/or Mary Carr; literary journalism by Ryszard Kapuściński, Joan Didion, John McPhee, and/or Natalia Ginzburg.
MW 5:30 - 6:45 p.m.
This course will introduce students to gender studies in a global context. We will use theory, literature, and film to explore the diversity of gender relations in the Americas, including the Caribbean, in Europe, in Sub-Saharan Africa, in North Africa and the Middle East, and in India. We will examine how gender roles are shaped by cultural legacies as well as modern economic forces and political movements. We will explore contemporary debates about controversial issues such as the impoverishment of women, violence against women during wars, the veiling of women, female "circumcision," widow burning, and compulsory heterosexuality and motherhood.
Dr. Chuck Jackson
MW 1:00 - 2:15 p.m.
This course will teach students how to describe what they see on screen and how to read and understand film as a narrative structure. It will also challenge students to understand why social contexts and theoretical frameworks matter to our interpretations of film. This course is the only required course for the minor in film studies in the College of Humanities and Social Sciences.
We will begin with a discussion of what counts as “film” and what we mean when we say we are studying it. We will follow this with a formal analysis of film, including how to recognize and interpret shots, cuts, sequences, and scenes; montage and mise-en-scene; acting, costume, color, and lighting. Identifying and understanding what constitutes film genre, with a special focus on film noir, will help us to flesh out our critical reading practices. We will close the semester by studying theories of the gaze, desire, and film spectatorship. Possible films include Modern Times (dir. Charlie Chaplin, 1936), Cat People (dir. Jacques Tourneur, 1943), Double Indemnity (dir. Billy Wilder, 1944), The Birds (dir. Alfred Hitchcock, 1960), The Elephant Man (dir. David Lynch, 1980), and possibly works by Maya Deren, Kenneth Anger, Andy Warhol, Derek Jarman, Jane Campion, Marlon Riggs, and Jennie Livingston.
There will be two tests, a shot analysis essay, a scene analysis essay, a mid-term, and a final research paper that demonstrates a full understanding of each section of the course. Students should have access to a Netflix account.
TR 5:30 - 6:45 p.m.
Although this is a course in film history, we cannot cover every period or movement fully in the span of a single semester. Therefore I have chosen to focus primarily on a key period in film history: early cinema up to and including the coming of sound. This important technological shift foregrounds some key questions about the aesthetics of the medium of film and what the ultimate direction of the medium would be. Course materials will include readings on film history posted on Blackboard Vista, 3-4 films made before 1940 (which you will buy on DVD) and materials screened in class. You will also do research with primary texts—such as old newspapers and film periodicals—made available in digital archives.
More specifically, you will gain an understanding of the changes in film form and its representational strategies. Key issues will include narrative vs. “spectacle” approaches to film, developments in editing and theories of montage, and technical, aesthetic and theoretical issues regarding the relation of sound to the moving image. (These issues will be covered in your course readings). You will emerge with a thorough understanding of the key issues of early film history and criticism (also covered in your readings). You will also have developed skills in film interpretation, textual analysis, and the ability to relate your insights to an understanding of wider cultural and/or political movements (covered in the in-class midterm and both of your papers). You will have the experience of writing material researched on your own, responding to criticisms and questions as appropriate (covered in your annotated bibliography and your final paper). Course prerequisite: 3 hours of literature.
Note on UHD Film Minor: This course is one of three English courses that will count toward an interdisciplinary film minor. Contact Professor Chuck Jackson (email@example.com) if you would like to consider a film minor.
TR 10:00 - 11:15 a.m.
Ireland is known for both its rich cultural heritage as well as its long, complicated, and often brutal history. In the 1890s, Irish negotiations with the British for Home Rule had reached an impasse, but while the movement for political independence had temporarily stalled, Irish cultural nationalism gathered momentum. This course will follow the development of Irish literature from the early poetry of Yeats and the founding of the Abbey Theatre up to the present day. We will see how writers answered the fundamental question of what it means to be Irish in various—and often conflicting—ways. Authors may include: Yeats, Synge, Joyce, Beckett, Heaney, Boland, Carr, and McPherson. Requirements: three medium-length essays and weekly quizzes.
Dr. Sandra Dahlberg
TR 4:00 - 5:15 p.m.
(Note: The course number and focus will change to ENG 4324: Seminar in Ethnic Studies. No previous coursework in Mexican American literature is needed to enroll in this course.)
This course examines significant literary works by American Indian and Mexican American authors. These works, by examining cultural artifacts that are both within and outside concepts of national identity, will lead us to re-consider what we too commonly designate as “American.” These texts examine culturally specific representations of time and place, self and society. This course explores the ways that culturally specific myths, legends, and history central to memory culture are incorporated into written form along with materials that will enable students to contextualize culturally specific cultural archetypes, narrative strategies, and major historical events such as contact/conquest, removal, allotment, assimilation, sovereignty, and urbanization. In this course we will read four novels (in this order): Song of the Hummingbird by Graciela Limon, Fools Crow by James Welch, The Last Report on the Miracles at Little No Horse by Louise Erdrich, and Alburquerque by Rudolfo Anaya. The course will also include some poems, short stories, plays, and supplemental historical and theoretical readings.
Assignments will include two literary analysis papers, two in-class essay exams, and an oral presentation on supplemental material.
Professor A. Chiaviello
Hours: to be arranged individually
This is a virtual independent study that involves working at Dateline: Downtown, the UHD student newspaper. Course requirements include the regular submission of publishable articles to the newspaper as well as general office and publication production and distribution duties. Students in this course become integral members of the newspaper staff and compile a portfolio of their writings for the course grade. Student will use the AP Style guide for guidelines to news writing. Close and sustained interaction with the student newspaper staff is essential, and the student can conference with the professor by appointment and for mid-term and final grades.
Last updated or reviewed on 6/30/11